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Zeta-Jones wants to star in one-woman show

By:
WENN.com Source
Dec 11, 2009

Zeta-Jones trod the boards on the New York stage for the first time last month (Nov09) when she began previews for the musical revival with Angela Lansbury.
And the star admits she'd love to be the centre of attention in her own solo show - she just has to come up with the perfect storyline first.
She tells USA Today, "One of my biggest dreams is to do a one-woman show, with dancing and singing. I just have to figure out the concept."
In the meantime, Zeta-Jones wants to try starring in a more traditional performance.
She adds, "I want to do a straight play next."
Zeta-Jones portrays Glynis Johns' beloved role of Desiree in Stephen Sondheim's A Little Night Music, which features hits like Send in the Clowns and Every Day a Little Death.
The Welsh actress started out as a star on London's West End and won an Oscar for her portrayal of Velma Kelly in movie musical Chicago.

The Murder, She Wrote star took to the New York stage earlier this year (09) as Madame Arcati in the Noel Coward play and landed the prestigious Tony Award for Best Featured Actress.
But the 84 year old confesses her success is largely down to the help of a carefully hidden earpiece - because her memory isn't as sharp as it used to be.
And Lansbury is not ashamed of receiving a little extra help.
She says, "It's not something you ever want to do, but if we're going to play important roles at our age, where our names are above the title on the marquee, we're going to ask for some support if we need it."
The actress will return to the stage in a Broadway revival of A Little Night Music this December (09).

WHAT’S IT ABOUT?
Based on the beloved children’s book by Judi and Ron Barrett Cloudy With a Chance of Meatballs tells the tale of Flint Lockwood an eccentric young inventor who spends his days in a makeshift laboratory building monkey-thought translators spray-on shoes “hair unbalder” serums and other strange creations. Regarded as a troublemaker and a nuisance by the residents of the small town of Swallow Falls Flint dreams of one day making something that will win their respect and earn him a place alongside the Edisons and Da Vincis of the world.
Flint thinks his latest invention a machine that turns ordinary water into gourmet meals at the touch of a button just might do the trick. But his big unveiling goes predictably awry when his machine launches like a rocket through Swallow Falls laying waste to the town square before eventually disappearing into the stratosphere.
Just when it appears that the townsfolk have finally had enough of Flint’s antics salvation arrives in the form of cheeseburgers raining from the sky thrilling the throngs of hungry people below. Success! Flint’s machine actually works — albeit not quite in the manner he originally intended.
WHO’S IN IT?
Lending his voice to the character of Flint is Bill Hader a Saturday Night Live regular who’s appeared in small roles in a ton of high-profile comedies including Tropic Thunder Pineapple Express and Night at the Museum: Battle of the Smithsonian. Anna Faris (The House Bunny) co-stars as Sam Sparks a weathergirl whose bubbly on-screen persona masks a keen intellect she’s terrified to reveal — lest she be branded a “nerd” and shunned by the community of shallow talking-head news correspondents.
Evil Dead star Bruce Campbell voices the sleazy manipulative Mayor Shelbourne a wildly ambitious politician who eyes Flint’s invention as his ticket to higher office. James Caan (The Godfather) plays Flint’s well-meaning but emotionally distant father Tim a blue-collar fisherman who can’t find a way to relate to his brainy offspring. And fans of A-Team and Rocky III will instantly recognize the voice of Mr. T as Earl Devereaux the tough-minded town cop whose job is devoted primarily to preventing Flint from inadvertently destroying the town. Rounding out the main cast is Neil Patrick Harris (Harold &amp; Kumar Go to White Castle) as Flint’s trusted monkey assistant Steve.
WHAT’S GOOD?
The animation of Cloudy With a Chance of Meatballs is truly a joy to behold. With each successive meal that falls from the sky comes a brilliant new array of patterns and colors all of which burst from the screening in dazzling 3-D. Directors Phil Lord and Christopher Miller rightly recognize the visual potential of the source material with its endless variety of colorful food items and serve up a delicious buffet of brilliantly-rendered set pieces.
But the film isn’t just a bundle of digital eye candy. Perhaps most pleasantly surprising about the film is the script’s sharp wit and clever observations which help make the experience enjoyable on a cerebral as well as visceral level.
WHAT’S BAD?
Lord and Miller who also co-wrote the adapted screenplay did a generally solid job expanding the relatively thin source material for the big screen but the story still feels weak at times. It’s just engaging enough to keep you interested but not quite enough to make a lasting impression.
PARTING SHOT
Cloudy With a Chance of Meatballs is something of a culinary rollercoaster. As food first begins to fall from the sky you might find yourself feeling a bit hungry. But as the plot progresses and Flint’s machine starts to spin out of control bombarding the town with every kind of slop imaginable don’t be surprised if your stomach starts to get a little queasy!

Lansbury only agreed to sign up for the production, which will open in December (09), if producers lined up a big star to play her daughter in the show, according to the New York Post.
Zeta-Jones agreed to take on Glynis Johns' beloved role of Desiree in the musical, which features hits like Send in the Clowns and Every Day a Little Death.
The Welsh actress started out as a star on London's West End and won an Oscar for her portrayal of Velma Kelly in movie musical Chicago.

WHAT IT’S ABOUT?
Known as “the boys” when they worked for the Walt Disney factory in the '50s '60s and '70s Richard M. Sherman and Robert B. Sherman turned out hundreds of tunes for the studio’s family movies winning two Oscars for their signature work 1964’s Mary Poppins. This fascinating documentary looks at all the stages of their lives from their childhood through their heyday and beyond — and it’s not nearly as sweet as a spoonful of sugar. These prodigiously talented collaborators may be brilliant songwriters but behind the scenes they barely talk to each other cursed by a dysfunctional family dynamic which informs everything they do. Ultimately The Boys: The Sherman Brothers’ Story is a moving film about life family creativity conflict sibling rivalry and two brothers who made musical history in spite of themselves.
WHO’S IN IT?
Both Richard and Robert Sherman participate in the film but are rarely seen on-screen — much less interviewed — together. Richard works in Los Angeles while Robert is filmed in London where he now lives. It took their respective sons Gregory and Jeffrey to even get them to be in it; as the film’s co-directors they’re the people imaginable who could have pulled this off. Along the way there are also interviews with the likes of Julie Andrews Angela Lansbury Hayley Mills Roy Disney Dick Van Dyke John Williams and many others who have known and worked with the Shermans but it’s the “boys” who really make up the heart of this film. And their story is a corker. The guys who wrote the number-one single “Let’s Get Together” for The Parent Trap will not be doing that themselves at least not anytime soon.
WHAT’S GOOD?
Not content to deliver a cookie-cutter vision of their fathers Gregory and Jeffrey present them warts-and-all. But The Boys also tells a tale of an indelible pair of songsmiths who not only wrote Poppins but also Chitty Chitty Bang Bang Bedknobs and Broomsticks The Jungle Book and countless other hits from just about every Disney project of the '50s and '60s. They offer a unique look at family conflict and amazing insight into the mysteries of the creative process.
WHAT’S BAD?
The effect the brothers’ stormy relationship has on family friends and themselves is dealt with in detail but the actual reasons for their estrangement are glossed over — largely because neither Richard nor Robert will offer an explanation. Since this is such an integral part of their story it would have been nice to see a little more investigative work devoted to revealing the truth between the split. Perhaps even the Sherman brothers themselves don’t know the full extent of it.
FAVORITE SCENE:
The genesis of their famous song “It’s a Small World ” played endlessly on a loop at the Disneyland attraction is priceless. Unfortunately you may find it hard to get this infectious tune out of your head afterward.
NETFLIX OR MULTIPLEX?
This limited release from Disney a tribute to two of their own pioneers may be hard to find in theaters. But it will most certainly have a long life on DVD — and that’s just supercalifragilisticexpialidocious!

Maybe it was the 3-D glasses that helped, but the game went into overtime this weekend for Spy Kids 3-D: Game Over.The third installment in the franchise about a family of super spies took the top spot with a healthy $32.5 million*, making it the highest opener of the three. The first Spy Kids opened 2001 with $26.5 million, while the second, Spy Kids: Island of Lost Dreams, opened 2002 with $18.7 million. The ghostly swashbuckler Pirates of the Caribbean: The Curse of the Black Pearl held on to second place with $22.4 million while the naughty actioner Bad Boys II dropped from the top of the heap last week to third with $22 million, barely slipping under Pirates .Not as many people, however, cared to see Angelina Jolie strut her stuff again. The outrageously stunt-laden sequel Lara Croft Tomb Raider: The Cradle of Life opened at No. 4 with $21.7 million, making less than half of what the original 2001 smash hit Lara Croft: Tomb Raider did when it opened at $47.7 million. The heart-tugging Depression drama Seabiscuit rounded out the top five's home stretch with $21.5 million, though it managed to take the highest per average screening award; opening in 1,989 theaters, its $10,809 per theater average was the highest of any film playing wide this weekend.Other notable indies opening this week included the Bob Dylan starrer Masked and Anonymous, which debuted at $32,167, and the controversial Buffalo Soldiers at $29,000.Overall, box office numbers were up this week, nearly 10 percent from the same weekend last year and nearly 6 percent from last weekend. THE TOP TENDimension Films' PG-rated Spy Kids 3-D: Game Over premiered at the top of the box office with an ESTIMATED $32.5 million in 3,344 theaters ($9,719 per theater).In this third installment, junior agents Juni and Carmen Cortez have to go into a video game and shut it down before it and its creator can take over the world.Written and directed by Robert Rodriguez, it stars Alexa Vega, Daryl Sabara, Sylvester Stallone, Salma Hayek and Ricardo Montalban.Buena Vista Pictures' PG-13 rated fantasy actioner Pirates of the Caribbean: The Curse of the Black Pearl held on to second in its third week with an ESTIMATED $22.4 million (-34%) at 3,416 theaters (+57 theaters; $6,557 per theater). Its cume is $176.1 million.Directed by Gore Verbinski and produced by Jerry Bruckheimer, it stars Johnny Depp, Geoffrey Rush, Orlando Bloom and Keira Knightley.Sony Picture's R rated buddy actioner Bad Boys II dropped from its first place perch to third with an ESTIMATED $22 million (-53%) at 3,202 theaters (+16 theaters; $6,871 per theater). This high-octane sequel, which follows narcotics detectives Mike Lowry and Marcus Burnett in another case, has made $88.4 million so far.Directed by Michael Bay, it stars Will Smith, Martin Lawrence, Jordi Molla, Gabrielle Union and Peter Stormare.Paramount Pictures' PG-13-rated action-packed Lara Croft Tomb Raider: The Cradle of Life debuted at a disappointing fourth place with an ESTIMATED $21.7 million in 3,222 theaters ($6,754 per theater).In her latest adventure pic, Lara Croft journeys to an underwater temple in search of lost treasures. During her expedition, she stumbles upon a sphere that contains the key to Pandora's box.Directed by Jan De Bont, it stars Angelina Jolie, Gerald Butler, Chris Barrie, Ciaran Hinds and Noah Taylor.Universal Pictures' PG-13-rated tear-jerker Seabiscuit opened with an ESTIMATED $21.5 million in 1,989 theaters. Its $10,809 per theater was the highest average of any film playing wide this week.Set in the 1930s, this is a true story about a down-and-out racehorse named Seabiscuit pulled out of obscurity by three men and turned into a national hero.Directed by Gary Ross, it stars Tobey Maguire, Jeff Bridges and Chris Cooper. *Box office estimates provided by Exhibitor Relations, Inc.As the box office numbers dropped off considerably, Warner Bros.' R rated sci-fi actioner Terminator 3: Rise of the Machines fell two places to No. 6 in its fourth week with an ESTIMATED $5 million (-46%) at 2,689 theaters (-744; $1,895 per theater). Its cume is approximately $137.4 million.Directed by Jonathan Mostow, it stars Arnold Schwarzenegger, Nick Stahl, Claire Danes and Kristanna Loken.Twentieth Century Fox's PG-13 rated period thriller The League of Extraordinary Gentlemen crashed four places to come in seventh place in its third week with an ESTIMATED $4.8 million (-52%) at 2,532 theaters (-470; $1,919 per theater). Its cume is approximately $52.7 million.Directed by Stephen Norrington, it stars Sean Connery, Naseeruddin Shah, Peta Wilson, Tony Curran, Stuart Townsend, Shane West and Jason Flemyng.Universal Pictures' PG rated spy spoof Johnny English slipped three places to No. 8 in its second week with an ESTIMATED $4.3 million (53%) at 2,236 theaters ($1,923 per theater). Its cume is 18.4 million.In the film, the British Secret Service calls upon bumbling secret agent Johnny English when a plan to filch the monarchy's Crown Jewels comes to their attention.Directed by Peter Howitt, it stars Rowan Atkinson, Natalie Imbruglia, Ben Miller and John Malkovich.Buena Vista/Disney and Pixar Animation Studios' G rated computer-animated feature Finding Nemo fell three spots in its ninth week to No. 9 with an ESTIMATED $4 million (-45%) at 2,025 theaters (-455 theaters; $1,975 per theater). Its cume is approximately $312.6 million.Directed and co-written by Pixar veteran Andrew Stanton, it features the voices of Albert Brooks, Ellen DeGeneres, Alexander Gould, Willem Dafoe and Brad Garrett.MGM's PG-13 rated Legally Blonde 2: Red, White &amp; Blonde rounded out the top ten in its fourth week with an ESTIMATED $2.6 million (-57%) at 2,120 theaters (-1,085 theaters; $1,250 per theater). Its cume is approximately $82.1 million. Directed by Charles Herman-Wurmfeld, it stars Reese Witherspoon, Sally Field, Regina King, Bob Newhart and Jennifer Coolidge. OTHER OPENINGSSony Pictures Classics' PG-13-rated Masked and Anonymous debuted with an ESTIMATED $32,167 in 4 theaters ($8,042 per theater). Set somewhere, sometime in an unnamed country torn by civil war, concert promoter Uncle Sweetheart is scheming to find a headliner for a benefit show--benefitting himself, that is. Veteran TV producer Nina Veronica is put on the job to make sure the concert is an international spectacle. The clincher? Uncle Sweetheart manages to get the iconic cult star Jack Fate, just released from prison, to perform.Directed by Larry Charles, it stars John Goodman, Jessica Lange, Luke Wilson, Jeff Bridges, Angela Bassett and Bob Dylan, in his screen debut.Miramax Film's R-rated Buffalo Soldiers opened with an ESTIMATED $29,000 in 6 theaters ($4,833 per theater).In Stuttgart, West Germany in 1989, just as the Berlin Wall is about to fall, Ray Elwood of the 317th Supply Battalion has turned his military servitude into a blossoming network of black market deals--more out of boredom than ambition. When a new top sergeant arrives with the avowed intention of cleaning up the base, Elwood thinks can handle the new blood. If he could only find out what to do with the $5 million in stolen arms that just landed in his lap…Directed by Gregor Jordan, it stars Joaquin Phoenix, Scott Glenn, Anna Paquin and Ed Harris.WEEKEND COMPARISONThe Top 12 films this weekend grossed an ESTIMATED $145.5 million, up 9.91 percent from last year's take of $132.4 million. The Top 12 films were also up 5.20 percent from last weekend when they grossed $138.3 million.Last year's top three included: New Line Cinema's PG-13-rated Austin Powers in Goldmember debuted on top with $73 million in 3,613 theaters ($20,225 per theater); DreamWorks' R rated drama Road to Perdition came in second in its third week of release with $11.1 million at 2,250 theaters (+91 theaters; $4,936 per theater average), Sony's G rated Stuart Little 2 dropped to third in its second week with $10.6 million at 3,282 theaters (+ 27; $3,233 per theater).
Go to our Box Office section for recent weekend movie analysis.

WHAT IT’S ABOUT?
Claire is an attractive CIA operative and Ray is an M16 agent who simultaneously leave their Governmental spy activities in the dust to try and profit from a battle between two rival multi-national corporations both trying to launch a new product that will transform the world and make billions. Their goal is to secure the top-secret formula and get a patent before they are outsmarted. While their respective egomaniacal CEOs engage in an unending battle of wills and one-upmanship Claire and Ray start out conning and playing one another in a clever game of industrial espionage that is even more complicated due to their own long-term romantic relationship.
WHO’S IN IT?
Reuniting Closer co-stars Julia Roberts (as Claire) and Clive Owen (as Ray) turns out to be an inspired idea. They turn out to be the perfect pair oozing movie-star charm and electricity in this elaborate con-game that might have been the kind of thing Audrey Hepburn and Cary Grant might have made in the '60s (in fact they did in Charade). Roberts with that infamous hairstyle back the way we like it and Owen looking great in sunglasses prove they have what it takes to navigate us through this ultra-complex plot in which no one is sure who they can trust at any given moment. They play it all in high style and the wit just flows as the story skirts back and forth during the period of five years. The supporting cast is well-chosen with juicy roles for Tom Wilkinson and Paul Giamatti (out of their John Adams duds) as the two CEOs going for each other’s throats. Giamatti who sometimes has a tendency to overdo it is especially slimy here and great fun to watch.
WHAT’S GOOD?
Big-star studio movies today rarely take risks and often talk down to the audience but in Duplicity writer/director Tony Gilroy (Michael Clayton) has crafted a complicated con-comedy that requires complete attention at all times just to keep up with the dense plot’s twists and turns. It’s the cinematic equivalent of a New York Times crossword puzzle and Gilroy and his top-drawer production team deliver a glossy beautiful-looking film that’s easy on the eyes hitting locations from Dubai to Rome to New York City.
WHAT’S BAD?
Like any good puzzle it sometimes can be frustrating putting it all together and Gilroy’s habit of taking us back in time and then inching forward gets a little confusing even with the on-screen chyron pointing out where we are at any given moment. Stick with it though and you will be well-rewarded.
FAVORITE SCENE:
A scene near the end where the formula must be found scanned and faxed in a matter of minutes is sweat-inducing edge-of-your-seat moviemaking and it provides the ultimate opportunity for Roberts and Owen to take the “con” to the next level. Another where Roberts uses a thong to try and trick Owen into admitting an affair he never had is also priceless and gets right to the heart of the game-playing.
GO OUT AND GET POPCORN WHEN ...
Never. Stock up during the coming attractions. If you miss a moment of this entertaining romp you might never figure it all out.

Chapter One: "The Second Coming"
9:01: With slicked back hair and a big nasty scar on his face, Peter Petrelli runs into a warehouse. Claire, looking all sleek in black leather and dark hair, is there. Nasty Claire, villainous Claire with a gun. She shoots Peter, but he dodges it, of course, and jumps back in time…
9:03: …To the press conference at which Nathan is about to confess having powers. Future Peter shoots his brother to stop the mayhem he may cause with his announcement. Present-day Peter, who is next to Nathan, chases future Peter. Future Peter escapes, but what happened to present-day Peter? A person can go crazy thinking about all this stuff.
9:08: Nathan dies of chest wounds, only to suddenly come alive again. With future Peter there beside him. He later claims he talked to God when he died, for just a little bit, and that the Big Guy left him a message. Oh please, Nathan is going Old Testament on us.
9:10 Hiro! Bored out of his mind in an office at his dead father’s company, making the clock go back and forth in time. Yeah, he’s not cut out for office work.
9:12: Sylar visits Claire. Uh-oh. He says he’s back. It was like “a long night after a bad taco.” He still wants to eat her brains, though. She breaks away to hide in a closet. Like that’s supposed to stop him.
9:18: Back with Hiro. His father has left him a video message saying that he’s a sentinel to a dangerous secret that could cause the end of the world locked in a safe in the office. But, he warns his son, DO NOT OPEN THE SAFE. Yeah, that’s just an open invitation for Hiro the hero. He opens the safe, finds half of a formula. Suddenly, it flies out of his hands. Quick thinking, Hiro stops time and follows the wake of whoever grabbed it. It’s a blonde chick who calls herself a speedster, and yes, she steals the formula.
9:31: Maya, aka black-goo eyed girl, and Mohinder are taking samples to try to get rid of her powers. BORING.
9:34: Sylar cuts open a screaming Claire’s head.
COMMERCIAL
9:38: Sylar’s got Claire’s head open and his hands in her brain. Gross. “Are you going to eat it?” “Eat your brain? Claire, that’s disgusting.” He finds some point in her brain, sticks his finger there, sucks in some kind of essence and then stands up. He sticks the top of her head back on, and she immediately heals. “You aren’t going to kill me?” “You’re special, not like the others. You can never die. And I guess now neither can I.” Wow, guess that answers the way Sylar gets people’s powers out their heads. Weird.
9:44: More Maya and Mohinder. Still boring.
9:48: Baddie Linderman, who you recall died last season, shows up in Nathan’s hospital room, saying he healed Nathan. Seems like no one can die on this show.
9:49: Nikki makes an appearance in a corset and garters, further cementing the idea that no one can die on the show, not really (she was supposed to have been blown up in a building). Her, um, boyfriend, whom she calls “Governor” is watching Nathan on TV, quoting divine intervention. Governor guys says “We may have found our guy, Tracy.” She thinks he’s right. “I like him” Tracy? New alter ego? Where’s Micah?
9:51: Matt wakes up in the desert with a scorpion on his face. Yuck. He was sent there by future Peter to get him out of the way.
9:54: Hiro jumps to the future for a moment, because, you know, that’s what he does. He lands on the streets of Tokyo, which is in chaos, people running and screaming everywhere. Then he sees his future self fighting with Ando, who is holding the formula in his hand. “You betrayed me!” Hiro screams. He tries to use his sword against Ando, but Ando blasts him with electrical current and escapes. The present-day Hiro turns to see Tokyo engulfed in an Armageddon blast.
9:58: Mohinder’s got a power, Mohinder’s got a power! After injecting himself with his serum from Maya’s blood, Mohinder suddenly finds himself with super strength. Cool.
10:00 Mohinder in voiceover: “Surely, the second coming is at hand.”
Chapter Two “The Butterfly Effect”
10:01: Poor Claire bear. She can’t feel anything anymore, no pain--the only thing she had that made her feel human. What’s the point then, she ponders? Ah, the dark side is creeping in.
10:04: Angela Petrelli sees the future in her dreams. That’s her special gift--and she knows all about the butterfly effect, the one in which you step on a butterfly in the past and the future is all screwed up. In one particular dream, she walks into a room and sees that all the good guys are dead--Hiro, Matt, Claire, Bennett, Peter. And all the villains are standing there: Nikki, Matt’s dad, Adam, some black dude--and, of course, Sylar.
10:09: Mohinder and Maya have sex. The new and improved Mohinder, that is. He reminds me of Jeff Goldblum from The Fly.
10:12: Elle and her dad Bob are back. Love Elle! She screwed up and let Sylar go, but she knows she can get him back. Bob doesn’t trust her. Bob isn’t going to live long, by the way.
10:15: Nikki is Tracy Strauss now, an adviser to Governor Mulden (OK, that’s his name). They both want Nathan to fill some senator’s seat, so she’s going to go talk to him. Later, she is approached by a guy in the parking garage, who shows her a picture of herself, as Nikki/Jessica the stripper, in Las Vegas. Wait, is that William Katt from the The Greatest American Hero blackmailing Nikki, er, Tracy? With a soul patch?
10:22: Linderman isn’t really alive. Nathan is the only one who can see him. That makes a little more sense. Nathan takes Tracy up on the senate offer.
10:24: Elle: “My dad’s dead, Sylar killed him.” She has burst into Bennet’s cell at the Company lab and throws him a gun. Indeed, Syler is there. Bennet tries to kill him, but of course it doesn’t work because, as he tells Bennet, he got his daughter’s powers. Bennet charges, and Syler tosses him aside like a paper doll. Then Syler grabs Elle and tries to open up her head. Big mistake. She turns into an electrical live wire and blows Sylar backwards. Nifty trick.
10:30: Hiro and Ando are in the speedster’s house in Paris. She’s a master thief. Can’t find the formula, though.
10:34: Tracy/Nikki has a new power, Tracy/Nikki has a new power! The William Katt reporter threatens Tracy again with his story of her as a stripper, and even shows her having sex with Nathan (back in the day, as Jessica). She starts to lose it, and grabs the guy’s arm. He suddenly turns to ice and breaks apart, all over the parking garage floor. Now, how the hell did she get THAT power?
10:38 Sylar is under wraps at the Company lab--again. Mama Petrelli shows up and hands Elle her walking papers. Seems the villains held prisoner at the Company lab have escaped because of electrical burst. Watch out, Elle is one spiteful girl. Meanwhile, Bennet heads home.
10:42: Hiro really should tell Ando what he saw in the future. Ando doesn’t get why Hiro is acting all weird around him.
10:43: I knew it! Mohinder IS turning into a fly! His body is mutating.
10:48: A water-deprived Matt in the desert thinks he is talking to a turtle. Actually, it’s some African fellow. “You from America? Do you know Britney Spears?” That’s funny. Suddenly, we realize he knows Matt--and because he is there, the future is not right. Goodness, everyone is in on this thing.
10:53: At the Bennet household, Mr. B feels like he is the only who can stop those nasty baddies on the loose. Claire wants to go with him, but he won’t let her. Instead, he reveals that Claire’s real mom is here to help protect Claire and the rest of the family. The lady has some fire power.
10:55: We find out what happened to the present-day Peter Petrelli. Future Peter somehow trapped him into the body of a real villain named Jessie, one of the escapees from the lab. Now, present-day Peter is stuck traveling around with the dangerous crew.
10:57 Stop the presses! Mama Petrelli is Sylar’s mother?

French director Alexandre Aja recently gave us a down and dirty remake of The Hills Have Eyes. He should have called this one The Mirrors Have Eyes as the rather silly plot focuses on a fire ravaged and now abandoned department store patrolled by ex-cop Ben Carson (Kiefer Sutherland). But he is being haunted by supernatural mirrors which seem to be targeting him and his family for death. The guy who previously had the job managed to slit his own throat thanks to the mean ‘ol mirrors which makes this new gig a total downer for the former NYPD cop who is also a recovering alcoholic. Scenes shift from the dark and creepy building to his former home now solely occupied by his estranged wife (Paula Patton) and two nightmare-prone kids. Forced to live with his bartender sister Angela (Amy Smart) Ben tries to convince sis and ex-wife that he is haunted by a group of yes mirrors at his current workplace and they may all be in danger as well. Fortunately for Sutherland he still has his TV series 24 to fall back on because his acting talents are not really required in this dopey horror flick. With expressions ranging from A to B Sutherland mostly prowls around the deserted building he patrols with a deep sense of fearful earnestness as only a guy being threatened by inanimate objects would. The dialogue he is asked to utter is of the “ help me they’re after me” school of screenwriting. Can’t really blame Kiefer too much though since all the actors caught up in this enterprise are stuck with one-dimensional roles that only serve to point out the shortcomings of the ridiculous storyline. Patton tries hard in the thankless wife role but isn’t given much to do except doubt the protestations of her alcoholic soon-to-be-ex hubby. The eerie looking kids who get caught up in Daddy’s nightmare Erica Gluck and Cameron Boyce look like they were plucked right out of Horror 101 casting. Smart is also pretty much wasted but does have a memorable bathtub scene in which she rips her face off. There is a nice turn by veteran actress Mary Beth Peil whose character holds the key to the mystery of the mirrors. Alexandre Aja is no slouch in the horror department. He has proved in past efforts such as The Hills Have Eyes remake and the French thriller High Tension to be a modern master of the genre effectively staging the kind of gross-out scenes fans of the genre crave. He has a couple of nifty ones here including the aforementioned bathtub sequence but most of his film gets bogged down with a lot of psychological mumbo-jumbo that tries to explain away the dopey concept. Bottom line is the director (who has only himself to blame since he also co-wrote the script ) has been saddled with an absurd premise of a bunch of unforgiving department store mirrors seeking vengeance on their human prey. Gore-starved devotees may be pleased but sadly Mirrors gives the rest of us precious little to reflect on.

Brenda (Angela Bassett) is a single mom living in the big city; thus it goes without saying that she is struggling mightily to make ends meet for herself and her three kids--Michael (Lance Gross) Tosha (Chloe Bailey) and Lena (Mariana Tolbert)--each of whom has a different father. Brenda’s problems come to a head when she goes in to work only to learn that her office has been shut down and moved to Mexico. Now it’s not so much her young daughter’s daycare that she can’t afford; it’s electricity and food! With literally nothing else to lose Brenda takes the advice of her friend (Sofia Vergara) and heads down to rural Georgia where Brenda just found out her estranged father is going to be buried. It is there that she also learns about her long-lost gigantic family and her father’s clandestine life. Most importantly though she meets a very persistent charmer (Rick Fox) who may or may not change her life in more than one way. Academy Award nominee Angela Bassett takes a huge step down in giving in to the hit machine that is Tyler Perry. Her bad decision to take on the role of an emotionally and financially battered single mom turns into an equally subpar performance. She is overly made-up both character-wise and physically--Brenda appears better-suited for one of Perry’s stage productions--and Bassett greatly overacts albeit somewhat appropriately for such a melodramatic film. Former Los Angeles Laker/Mr. Vanessa Williams Rick Fox playing a somewhat fictional version of his own life (i.e. retired basketball star) continues to attempt in vain to prove himself as an actor and not just a jock. Unfortunately he again comes off as an athlete trying his hand at acting with an emotional range and vocal monotone that make Shaquille O'Neal seem worthy of another acting gig. The lone bright spot is House of Payne (Perry’s TBS sitcom) star Gross who as a high school basketball star/super-son is thankfully unwilling to indulge in the overacting that surrounds him. In supporting roles the countless Brown family members are good for a few laughs but little else. And Perry himself pops up as the beloved Madea character for what can only be considered a cameo. As sure as a new spoof from the Scary Movie guys an under-the-radar Woody Allen film and a Saw flick Tyler Perry will put out at least one film a year these days. Between his own movie productions acting gigs on the side and hit TBS sitcom House of Payne Perry is clearly the busiest man in showbiz--gotta give him that. What’s not so clear however is how he has such a loyal fervent fan base. Meet the Browns like every other movie he’s written and/or directed (five of them) is very occasionally silly-funny or touching but otherwise verges on absurd and not the good There Will Be Blood kind of absurd. It’s everything that probably makes Perry’s plays--which are the basis for almost all of his work and his subsequent meteoric Hollywood rise--successful: histrionics theatrics melodrama and preaching. None of those elements translates to anything more than an uneven film yet apparently throngs of moviegoers couldn’t disagree more--and hey at least it’s a (welcome) change from almost everything else at the local multiplex.